Nina tells LITTLE LIZA’s story against a foot-stomping instrumental pace that romps to a happy conclusion. LITTLE LIZA JANE is in another vein entirely it is a rollicking, rousing Negro folk song, arranged here almost in suite form. The result is impressive the story of PORGY, told again, told differently, retains the flavor and dignity of the opera, yet is distinct and uniquely handled by Nina. The character is the same – the “Porgy” of the Gershwin opera – but this time the music and lyrics are by Jimmy McHugh and Dorothy Fields. The PORGY here, as Nina remarks in the album, is not the musical “Porgy” with which she became so closely identified. This is a blues, somewhat uptempoed from the original lament, unmistakably Nina’s in interpretation. Nina opens with TROUBLE IN MIND, an old tune that may be best described as being of jail house origin. The occasion was the fifth Jazz Festival of its kind (destined to make noisy headlines several days hence), and right now, 5000 jazz addicts sat before the bandstand, drinking in Newport’s soft summer night, and the sounds that were, and are here, so distinctly Nina Simone’s The day was June 30, the year, 1960, the time, about 10pm, and the place, Newport. Recording session: Newport – Rhode Island – June 30, 1960 If there was to be one summing-up of Nina’s triumph at Town Hall, it would have to be “Summertime.” There are, actually, two “Summertimes” here the first is an instrumental, and so skillfully developed that, almost with realizing it, we are deep in Gershwin’s “Catfish Row.” Nina builds her mood unhurriedly, touching at times upon other music from “Porgy and Bess,” finally, majestically, speaking of “Summertime.” The air is warm and languorous, and the masterful climax fitting to NINA AT TOWN HALL. This is the raw, natural music of the jungle the beat and the rhythm are intense. An all-instrumental number, Nina again leads the way with a brilliant piano performance. “Return Home” is an Afro-Cuban original of tremendous power. It swings from the first note to the last. With “Exactly Like You,” Nina takes an old standard, makes it over, and brings it forth fresh and new. A probing, driving pianist, she has developed remarkable techniques and is always in search of new ones. In “Under The Lowest,” a totally improvised blues, Nina displays her spectacular talent at the piano. There is little question that she does it justice. Nina also does one of Billie Holiday’s great classics, “Fine and Mellow.” Nina idolized the immortal Billie, and dedicated this song to her. Again, Nina becomes part of her music and gives it new dimension. “The Other Woman” is not only a beautiful song, but one whose timeless lyrics demand attention. The two forces merge and build with awesome effect. In “Wild Is The Wind,” Nina’s piano is the wind itself, while her voice is love.
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The lyrics are genuine, and we know that Nina has shared all the emotions which they express.
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“You Can Have Him,” for example, is a miniature romance, speaking eloquently of a love affair that is finished, but will never end. A folk tune that is not nearly familiar enough, she sings it with wonderful conviction.Ī number of ballads in the album also hold the unique position of not having been overdone. Nina unfolds its story slowly and easily. “Cotton-Eyed Joe” is a folk song, too, but its dissimilar roots are in the deep south. Nina’s instinctive “feel” for folk music is never better displayed than with “Black Is The Color.”
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A poignant mood is quickly set, and although the melody follows an intricate path, the thread of haunting beauty is never lost. “Nina At Town Hall” begins with “Black Is The Color Of My True Love’s Hair,” a folk classic of Norwegian origin. But, as someone once observed, such performances are not difficult where genius is involved.
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She ranged fluidly from blues to ballads, from jazz to folk songs, and ran an emotional gamut that left her audience gasping. The simple truth is that she was simply magnificent. 12, 1959, Nina Simone appeared at New York’s Town Hall – and all else followed. The one fact that rules all the others is universality, and when an artist conveys universality, all else must follow. What are the ingredients that go into a great performance? They are, in fact, so subtle delicate and personal as to be almost unpredictable. Recording session: Town Hall – New York City – September 12, 1959